tomorrow

No offense to Le Riche's fans or the man himself, but so much money and PR has been pumped into this evening. Did any other POB dancer (Hilaire, Legris, Guerin, and the recently retiring dancers) receive this level of special trewtment, and how many companies would slap their retiring dancers in the face by pushing out PR claiming somebody's the greatest dancer of his generation? They're even streaming the evening online now. The Paris Opera is a strange company...

Hm OK, I'll take that view instead. In the UK I don't think this is a particularly common occurance although I may be wrong. I guess Mr. Hilaire could have refused, and 200k is an awful lot (although still tiny compared to the small salary of those above him).

Can we please boycott the POB, Benjamin Millepied's ballets and the company's dancers when they're guesting? This is a very strange turn of events. According to this, Laurent Hilaire was invited to resign by the incoming general director in exchange for a bonus of 200k: http://www.mediapart.fr/article/offert/79bea3640837ed171d94459898d04a13. A review of the Paris Opera's spending has been ordered. (Is this OK to post? Just checking.) For me, Aurelie Dupont and Clotilde Vayer just went from respectable individuals to avoidable. Sickening. Why is Laurent Hilaire being judged by the actions of Brigitte Lefevre? Why are the company's dancers silent and supportive of Benjamin Millepied's arrival? Why, when the ballet world was quick to damn the mess at the Vaganova, are people still quiet? I cannot comprehend this at all. Edit to add: I don't understand French labour laws, so I don't know if it's possible to offer a payout when there's no basis to fire somebody, or if you have to have a reason. Can anyone confirm? I can't see how Laurent Hilaire is unreliable so unless he is guilty of misconduct, I assume the former...

In his New Yorker profile he said he wanted to make the company more diverse and less white. While a laudable goal, I wonder how is he going to do that? He can't just hire whom he wants because prospective dancers come in through the Concours, and he sits on the jury with other people. Or does he expect to either 1) change the recruitment process or 2) control the jury? Encouraging more minorities to attend the Ecole won't affect the company for several years -- at best. With regards to Millepied's commenrs about the lack of diversity, which caused outrage in France, I was under the impression the company only started recruiting externally (that is, not from the POB School or the Paris Conservatoire) in the early 2000s. Changes to labour laws meant institutions and companies couldn't solely rely on their feeder schools anymore, something like that.The POB School (which gave some of its students from minorities publicity soon after Millepied's comments!), like both the internal and external concours, relies on body measurements. It is, according to an interview with Mathilde Froustey, only free if you join at a young age. That's not going to produce a wide demographic, and certainly not when only the top ranking applicants gain a place. Millepied is not a diplomat and far from a smoother talker anyway. He didn't credit the dancers to Elisabeth Platel but Claude Bessy, despite the latter retiring ten years ago, and it is obvious he took the job because he wants the extensive resources. In a recent interview he said he arrived convinced he was going to have to hire dancers externally to bring the company upto scratch, but was pleasantly surprised that wasn't the case. I mean, seriously? Can you imagine City Ballet hiring a director who doesn't even know the company? Just more insult to Hilaire and Legris. I wouldn't be surprised if Hilaire moved into theatre. A fine, fine dancer-actor, he hinted that is an area he wants to try when he retired. Sylvie Guillem also wants to try theatre, so perhaps we will see this legendary partnership reunite. Excited for Mr. Hilaire but still sad. The life of POB fans eh? ;-)

I'm not sure I would completely side with Aurelie Dupont's rather sweeping criticism of the coaching in the company today though. Not to dismiss her claims, if Dupont feels treated like a puppet then there is a clear need for her to be taught with a very different approach, but when there are more than a few coaches highly praised by dancers, including Laurent Hilaire and Dupont herself, it seems unfair of her to make it sound like they are all like that. The ecole however I can understand and whilst it appears to have improved under Elisabeth Platel, the harmful 'commit to the POB or nothing' attutide persists. As for La Danse, it was arty farty with a purposely distant and moody tone to it. Laurent Hilaire was, if anything, exaggeratedly kind (and so French) and for me, is a prime example of what a good coach should be. Footage of his coaching elsewhere along with his public rehearsals show a very caring man who knows how to have fun with his colleagues. He certainly lives up to his reputation for being a very animated and infectiously energetic character. A keen eye for details as well, of course. Ghyslaine Thesmar and Noella Pontois didn't get a lot of air time in La Danse and have since retired, but both have great reputations amongst the dancers too. Thesmar was a maternal type for Dupont, Letestu and Hilaire, so clearly isn't the distant character she came across as in La Danse. As for Brigitte Lefevre, well it is Brigitte Lefevre. I had the same feelings about Patrice Bart watching the Etoiles documentary when he refused to accept the job is difficult or his colleagues could feel lonely, snarkily cut to immediately after Aurelie Dupont spoke of her difficult experiences. A classic moment!

Aurelie Dupon't supposed lack of facial expression is definitely not an opinion I share with her in-house detractors in Paris (my apologies if that wasn't clear). A POB post-Dupont is, like a POB post-Hilaire and Legris, difficult to imagine. Regardless of negative criticism towards her, in my view Aurelie Dupont has consistently proven herself as a more than capable coach. With regards to directors recommending their successors, I think Brigitte Lefevre overstepped the mark by being a little too public about it. On a couple of occasions Lefevre said Laurent Hilaire and Manuel Legris were ideal choices but hoped it would be Laurent Hilaire, presumably because of his work since entering management, and dismissed Nicolas Le Riche as a candidate due to his lack of experience in administration. It got a bit persistant, even with an article in a French business magazine explaining why Laurent Hilaire is a great manager, which probably would have come across as innocent had it been published prior to these interviews. One has to also question the professionalism of Stephane Lissner and Nicolas Joel placing somebody in that position as well when Millepied has always been a controversial figure. That is, presuming choosing between Hilaire, Legris and Le Riche was a bad choice due to the potential conflict, had it been, say, Alessandra Ferri, would Hilaire be in a position where he was seen as bitter? This is why a ballet director should be appointed by a panel of experts, not two directors from an entirely unrelated field, one of whom didn't interview candidates despite 'mutually' agreeing to one, the other a controversial figure for fans of La Scala's ballet.

The French aren't particularly great at writing a coherent argument against Laurent Hilaire. It falls back on gossip and personal attacks ("I can't say he'll be particularly missed" from one rather bitter and twisted individual who for months has seemed hell bent on maligning the man online). He's accused of casting 'weak' and unprepared younger dancers over the older stars when we know from Dorothee Gilbert's comments, for example, it is Brigitte Lefevre and Brigitte Lefevre alone who casts. Apparently he focuses too much on academics and treats dancers like dolls, trying to relive his career through them, when La Danse and dancers like Mathias Heymann, Stephane Bullion, Mathieu Ganio and Emmanuel Thibault, the latter two being dancers Hilaire has coached very closely for many years, who have praised Hilaire's coaching in interviews (particularly with regards to mime and interpretatons), show otherwise. Hilaire has also spoken in interviews about the need to tailor different approaches to coaching for each dancer, e.g. somebody may prefer mirroring, others touch, some metaphors to help them envision how they move etc. The French claim the company snootily disdains the virtuosity (tricks) of the Russians and New Yorkers when Laurent Hilaire, Nicolas Le Riche, and some of today's younger dancers, like Francoise Alu and Dorothee Gilbert, do not. They lack musicality and fluidity when Hilaire has commented on the need to improve thse areas before, and they struggle to interpret roles, taking on this apparently "boring" aesthetic where perfection comes at the cost of emotion. Ballet masters can't work with a cast of 70 one to one and from documentaries and videos there are many, many coaches involved in the process. It is also odd to praise Aurelie Dupont's promotion to ballet master when she is extensively criticised for her inability to use her face (debatable). Meanwhile, Hilaire remains one of the most respected dancer-actors of our time ;-). He is also accused of being promoted to succeed Patrice Bart as a little training project for Brigitte Lefevre, with intentions from the get go to set him up to succeed her. There's no evidence of this whatsoever and in an interview, Hilaire was quite clear, he works with other managers within the company than Brigitte Lefevre! Lefevre did Hilaire no favours campaigning for him and has indeed placed him in an awful situation being so unprofessional, particularly when it was clear she was initially unhappy with Millepied's appointment. In her defense I'm not aware the application process was open, that is, anyone could apply, although I could be wrong, and some of the dodgier characters attached to the company viciously campaigning for their pals to be considered from the second Lefevre announced her intentions to retire. Nicolas Le Riche is one example, despite having no advantage to dancers like Elisabeth Maurin and Isa Guerin, yet nobody is accusing him of being a certain nasty banker's little sidekick. Hilaire's the scapegoat. It's true Nureyev is different from the French school with numerous dancers commenting on how he is more like a seperate schooling, most recently Sebastien Bertaud (http://translate.googleusercontent.com/translate_c?depth=37&hl=en&ie=UTF8&nv=1&prev=_t&rurl=translate.google.com&sl=auto&tl=en&u=http://www.chacott-jp.com/magazine/world-report/from-paris/paris1405c.html&usg=ALkJrhiwzT4t3Eo4uRXe1ANyP85ngVcwWA) and Kader Belarbi when importing one of Nureyev's productions at the Capitole du Toulouse. As for the challenges of such a varied rep, one has to wonder if some of the injuries and complaints above are a result of that. Millepied hasn't helped in that regard. I will try to find the interview but Millepied made it sound like he wasn't impressed by the quality ('virtuosity' again) and felt it was important to improve standards so they can work around the world, most notably at the ABT. I was left speechless! Yes, Hilaire has turned down opportunities to direct before because he has never felt the need, so it is possible he wouldn't have even taken the job had it been offered to him. He's also said he very much stays as a sort of favour to Lefevre and wasn't sure he would continue when she retires - and this was in an interview about a year after he was promoted to management. Perhaps he feels it is fitting to depart now. It is a shame Millepied and the Paris Opera remain so quiet - I would have nipped accusations of bitterness in the bud 9 months ago with joint interviews. Alas, nothing. Not even a comment from Millepied wishing Hilaire all the best. The bad manners of the inexperienced.

Yes, coupled with Nicolas Le Riche being a candidate it could not have been easy. The press is so harsh though. http://translate.googleusercontent.com/translate_c?depth=34&hl=en&ie=UTF8&nv=1&prev=_t&rurl=translate.google.com&sl=auto&tl=en&u=http://www.lefigaro.fr/culture/2014/05/29/03004-20140529ARTFIG00108-ballet-de-l-opera-benjamin-millepied-pose-sa-nouvelle-donne.php&usg=ALkJrhgVoVgo478CeHVkbXZPS2vl-tvd1Q

It's been confirmed by the Paris Opera now. I don't think I can post links (maybe my phone!), so excuse if it stretches. http://www.nordnet.fr/infos/reg-idfparisgeneral/laurent-hilaire-quitte-la-direction-du-ballet-de-l-opera-de-paris/140528174118.e0hp38oj A great shame, yet as unsurprising as it is a surprise. Unless Laurent Hilaire has other projects lined up, leaving the no. 2 position of a presitigious company is quite the risk. I do recall around his retirement he said he wanted to try the challenge of working in another area so maybe this is his chance. It's sure to ignite rumours of being bitter or of there being some kind of internal fued, which isn't helped by Brigitte Lefevre campaigning for him to be her successor - or by Benjamin Millepied's failure to acknowledge Laurent Hilaire and his career publicly. Hilaire on the other hand congratuled Millepied and praised his work from day one. That aside, it is fair to say Hilaire is a polarising figure amongst POB balletomones. He's helped the youngsters as best he can under Lefevre but in my opinion has become a scapegoat for disgruntled balletomones. Ultimately he's accused of being Lefevre's sidekick (I can't say I'm convinced by this) but I would hope Laurent Hilaire didn't resign out of struggling to cope with the character assassination. It is inevitable some dancers would also stir in a company as over-competitive as the POB is known for being, although I'm sure more than a few dancers are sad to see him go. Also, it's unfortunate the Paris Opera didn't release a statement on its website with a comment from Laurent Hilaire himself. Typical. I suppose he will go quietly?

Whoops, sorry Helene!

Excellent news. Manuel Legris' contract, due to expire in August 2015, has been extended until August 2017. He's done some fantastic work building their profile over the past couple of years, particularly given their budget. Really hope we get to see them in London some day.

No I'm going by what I heard but I'll retract my comment and assume it's down to her due date then. Makes more sense. Yes, thought it was poor practise myself - according to their website they also employ an osteopath as well though. Mathias Heymann mentions having to travel to see somebody here. It's bad given their budget - and with the cuts the company is facing, it should make Benjamin Millepied's plans for a Parisian version of the New York Choreographic Institute a low priority.

Yes, it's a shame we'll see so many retirements this season. I'm not sure how the company is allowed to continue forcing out its dancers, chorus, and bizarrely their technicians (at 55), when the EU's equality Directive and France's own discrimination laws make these non-national mandatory retirement ages difficult to uphold in court. I guess it will take a dancer to file before the legalities are questioned. As for dancers on maternity leave, Dorothee Gilbert appears to have gone on a year's sabbatical instead. I would hazard a guess and say Gilbert also wants to avoid another year with Brigitte Lefevre, who barely cast her last season. Amandine Albisson, Heloise Bourden, and Laura Hecquet, three dancers the brilliant Laurent Hilaire has extensively supported over the years, look set to continue being given lead roles. The same with Alice Renavand and Vincent Chaillet, who are the two most likely to receive a promotion to etoile before Brigitte Lefevre's retirement. Most surprising so far this season are Audric Bezard and Aurelia Bellet receiving Desire and Aurora. They're two of the most promising POB dancers yet are sadly either routinely undercast, or given roles which they've both outgrown. Again, two of Hilaire's. There are no other surprises, somewhat predictably. Brigitte Lefevre takes a heirarchy-within-the-heirarchy approach so others don't get a chance. The question is, who will be cast when the injuries hit? The company employs one physiotherapist and has no other form of on-site health team I'm aware of. Unless the POB starts preparing their dancers better for transitioning from the contemporary rep to classical ballet, then we can guarantee a repeat of La Sylphide and Don Quixote. In that case Francoise Alu would likely be given a chance (as he was for Don Quixote), and he looks set to become a premier dansuer this year anyway, although that will depend on his ability to cut down on the leaps and turns. They've -- perhaps the wrong word -- rigged the concours and given sujets the same set Albrecht variation they gave the petit rats who auditioned to join the company this year.

You're probably right there Helene. I could of course be placing too much faith in Laurent Hilaire here but he has never come across as somebody who is particularly institutionalised. Why he or Manuel Legris didn't become director remains to be seen - I guess that's what happens when a board isn't involved, but two opera directors, one of whom likely didn't interview Benjamin Millepied himself - but given Brigitte Lefevre's wishes for Hilaire or Legris to take the healm, I don't think Millepied will be able to implement a lot of change quickly. She's lasted this long for a reason. Mathilde Froustey has taken a maximum year's sabbatical for her move to SFB. She doesn't seem too sure about her future in Paris either: link (in French).

It's a great move for Mathilde Froustey and for SFB but I'm frustrated it had to come to this. She is very clearly a victim of the usual POB company politics. Matthieu Ganio was promoted to etoile from sujet and faced tough criticism because he wasn't all that well known. Mathilde Froustey has a bigger profile or 'star' quality than half of the etoiles, but she wasn't promoted, nor has she been cast consistently. It does make me wonder what exactly the brilliant Laurent Hilaire does now. The number two of the company, he reportedly agreed to enter management only if Brigitte Lefevre started casting in a less hierarchal manner (she hasn't). He also has a fantastic track record for supporting young dancers through organising galas, so is he really ok and/or too chicken to criticise Brigitte Lefevre's frankly bizarre management decisions?